Pride Of Lions delivers album number six and probably their strongest since 2007’s The Roaring Of Dreams.

Jim Peterik and the brilliant vocals of Toby Hitchcock make a perfect team, with Jim’s more recent songwriting featuring a more theatrical lean and Toby giving those songs instant flair, but also steering the choruses back into AOR territory.

The album sounds a million bucks – the regular production team, including deskman Larry Millas, at Jim’s home studio have this down to a fine art. All we need is the songs.

Jim Peterik isn’t short in inspiration – I’ve never seen any man write as many ideas down as constantly as Jim does. Lion Heart picks the best 12 and follows a similar path to that of previous Pride Of Lions albums.

Lion Heart is the powerful opening number; Heart Of The Warrior is the feel good 80s soundtrack tune; Carry Me Back the sentimental AOR hook and Waiting For A Girl Like You Sleeping With A Memory is the moody 80s ballad.

Elsewhere Good Thing Gone, Give It Away and You’re Not A Prisoner mirror the best the band has offered while Now & Unfinished Heart bring the tears.

A terrific and highly recommended album.

I do note that Jim Peterik takes lead vocal on the first verse of every song, raising his vocal profile on this release above that of any before it. It does change the dynamic a little. His vocals are among the best I’ve heard from him, but Pride Of Lions has in my mind always been Jim’s songs and sound and Toby’s voice. Its not quite as cut and dry on this album. Minor point.

Australian teen sensation Orianthi started off as Avril Lavigne styled pop-metal singer/songwriter and quickly moved on to a more mature blues-based angst, but considering her career trajectory, she’s probably not where she should have been or wanted to be.

He debut indie EP was way back in 1999 and her major label debut was in 2009. 11 years on from that we’ve had just one other album (in 2012) and the collaboration with then partner Richie Sambora which yielded just one album which failed to get the attention it deserved.

So now she’s back and signed to Frontiers, not for a return to the AOR leanings of her youth, but rather a mature, experimental modern rock opus filled with vocal effects, a heavy emphasis on programming and a sound not often embraced by the purist Frontiers audience.

The aggressive modern rocker Rescue Me is decent; the acoustic ballad Crawling Out Of The Dark is an emotional highlight and the new single Impulsive is a catchier affair – but the video clip does it no favors.

Blow does just that; Sinner’s Hymn is a distorted modern mess and overall the album is just a little too tuned down and left of centre, not to mention seldomly moving outside a mid-tempo pace.

Not sure who this is going to appeal to besides established die-hard Orianthi fans, but at 917,000 FB followers, she'll likely sell to those, more than many other artists on the label. It’s not of the style that will see any crossover or mainstream success, but this review should generate enough hate mail for the time being.

Dennis De Young and Jim Peterik. One of the most brazenly honest and funny guys, who just happens to have a golden voice, together with one of the most earnest and likeable guys on this planet, who also happens to be one of rock’s greatest songwriters.

Together with the Peterik production infrastructure, the quality of this release was never in doubt right?

The only downside is there are only 9 full length songs here, with a decision made to split the productive writing and recording sessions into 2 albums. I hope the second volume maintains the high standard set here.

9 songs mean there isn’t a minute to waste. DDY brings the best of his soaring pomp Styx-like magic and JP brings his matching theatrical flair and AOR heart, ensuring that the duo achieve their aim.

There are rockers, there’s pomp, there’s a couple of spectacular ballads. Everything I was hoping of this union is right here. Proof that partnerships can’t be forced, they have to happen naturally.

I really miss the old Jaded Heart. The metal band that has evolved since Michael Bormann left now has next to nothing to offer old fans. This is without doubt their heaviest album to date and without doubt their least melodic, least likable and least memorable.

Its just bombastic riff after riff with a double kickdrum to accompany.

The band seem to have given up any pretence of songwriting, with nothing here standing out at all on first listen. Repeated attempts didn’t make any gains.

I thought Johan Fahlberg was a strong metal vocalist, but his tone here is horrible – more screaming than signing and there is no hint of melody in his singing.

The album’s promo sheet reads “Jaded Heart has always been a melodic band that writes songs with huge sing-along choruses and this album offers many of those!” Give me a break!!!

There is nothing here whatsoever to sing along with. It’s not until track 8, Embrace A Demon, that I can even hear a proper chorus.

Mixed and mastered by Erik Martensson, there is nothing to complain about with the sound, just the style, the songs and the singing. Worst Jaded Heart album ever. Change the name or re-think what you’re doing guys.

Shaft Of Steel – surely a metal band with a logo like that…and cover art featuring a medieval candelabra and goblet and even a fish mounted on the wall! Let’s get ready to rocwhaaaat? This isn’t bang your head, it’s more rather gently nod your noggin. These British rockers defy the visuals and deliver a classy bright and breezy, pink and fluffy AOR record that’s more akin to Work Of Art than their name suggests.

Its well worth the time and the effort. For a debut, it delivers more than might be expected and while they aren’t yet in the same league as WOA, anything is possible with a start like this. Just fix the visuals and tighten up production a little.

Shining Black should be a stand out record based on the names behind it. Another staged Frontiers partnership, the ‘band’ features vocalist Mark Boals (Yngwie Malmsteen, Ring Of Fire, Royal Hunt) and guitarist Ölaf Thorsen (Labyrinth, Vision Divine). Both are quality individuals, but for me this album doesn’t work.

It may be the songs don’t have the spark needed to be a high-profile release and it pains me to say, but Mark Boals doesn’t have any energy in his vocals. It sounds phoned in. He is a mile better than this. It’s a case of what could have been with this one.

The new Overland is another record that delivers almost everything expected of it – smooth, soulful AOR with the masterful Steve Overland bringing his godly dulcet tones to us undeserving mere mortals. It’s also pretty rockin in places – straight ahead hard rock to a more bluesier vibe. Rather than taking a cheaper, easier route, A rhythm section comprised of the evergreen Brian Tichy on drums and bass from Brian Anthony (Steve Walsh). You also get a super slick production and mix. Quality guitar work comes from Tommy Denander, but you do have to accept his processed and overly familiar sound comes along with that.

Can you believe this is actually Steve’s 5th Overland outing?! Time flies. Maybe not as catchy as previous albums, but still very good.

Not a lot to complain about here. Steve Overland demands purchasing, that’s about as simple of it gets.

Black Swan – The great Jeff Pilson strikes again! Jeff is the main man behind this melodic supergroup also featuring Robin McAuley, Reb Beach, Matt Starr.

I’m sceptical of most of these projects, but this one works – sounding like the son of the harder edge sides of MSG, Dokken, Foreigner and Winger.

Robin sounds amazing and being a huge fan of his voice does help, but this album really rocks and the songs finally do justice to the names involved.

Produced by Jeff and mixed and mastered tighter than a drum by Alessandro Del Vecchio.

Decarlo features fill-in Boston vocalist Tommy Decarlo who unfortunately delivers a lacklustre effort on this poorly produced solo debut. There is little energy to speak of, the production really is truly lacking and the artwork looks like it was a done one afternoon during a high school Photoshop lesson.

The title track is cringeworthy with its basic chorus and pumped in crowd cheer and beyond the opening track, the rest of the record is simply too polite for its own good.

Unfortunately, I think this is a largely forgettable record in a very crowded market.

The deluxe edition of Yngwie Malmsteen’s new CD comes with a drinks coaster. I recommend sticking to the regular version and just use the disc instead. Yes, it’s that time of the year again, where we get to investigate Yngwie’s latest musical offering – this time he’s tackling “the blues”.

I’m not sure which blues he speaks of – this record has as much in common with the Mississippi Delta or the origins of blues based rock as Steve Perry is to gangsta rap. Look, I know it’s fun to read a bad review and especially one aimed at Yngwie – but it’s not without cause.

This album continues the muddy mess that has been every record in recent years where Yngwie is in control of playing, producing and mixing. It’s just bloody awful. The opening title track has wall to wall rhythm with bass reduced to sounding like a distant foghorn dipped in crude oil.

There’s no space between instruments and the relentless double kick drum on just about every damn song is completely out of place. Much like Yngwie playing the blues. Just check out Foxey Lady. Widdling intro, brain damaging bass thumping and thrash like double kick drum speed while Yngwie’s “vocals” and continual widdling travel along at half the speed.

Doesn’t anyone ever say “dude, this ain’t right?”It’s the same with Purple Haze. Widdle, thump, widdle, thump, wail, widdle – all at double the sensible tempo.How about the utterly classic While My Guitar Gently Weeps – the beautiful, gentle, restrained masterpiece of subtlety and style? Widdle, thump, widdle widdle, wail, double-widdle, triple-widdle.There is zero soul on this album. Yes Yngwie can play like a BMF.

Yes, he can widdle faster than the speed of taste, yes he used to be an essential purchase when actually using a producer, a vocalist, a bassist and a drummer (a real band that is).

Until he employs a modicum of self-restraint and self-awareness (and a vocalist and a producer etc etc), then I will be here to critique these albums honestly. And honestly, this is more of the same.I’ll score this a 22 – the same number of years since the last great Malmsteen record.

Bite The Bullet were originally formed in 1986 by singer songwriter Mick Benton and drummer Graham Cowling. The music played was in the style of Foreigner, Toto and Mr. Mister, an album was released in 1989 to some quiet success. In 2020 Mick and Graham decided to get writing new material for a second “Bite the Bullet” album.

It is available now and I must say it is a joyous soft melodic rock affair. A real pleasure to listen to. I’m finding comparisons hard to draw from, which to me is a sign the guys got it right.

I’m so tired of everything sounding the same, with only vocals differentiating one project from the next.

Black & White is a pure British AOR album, drenched in keyboards, but still driven by guitars and strong, unique vocals.

It’s a totally 80s sounding affair, yet a decent production keeps the sound in today’s realms.

There’s some Midwestern influences, some pop/AOR and straight up melodic rock amongst the albums 12 tracks. If you like real Bryan Adams, Heartland, Van Stephenson, Mr. Mister…give this a spin.

Finland's Temple Balls have really kicked up the dials for album number 3. This is a fast moving, kick ass, tour de force of melodic hard rock, easily blowing away their first two efforts in terms of songwriting, production and performance.

This album compares favorably with the most recent HEAT album and also classic Gotthard alongside old classics like Motley Crue, Kix and LA Guns.

It has that European hard rock feel, but a monster production effort from HEAT's Jona Tee has the band firing on all cylinders and there is a lot of HEAT at their heaviest in the new album's sound. Tee also produced the band's last album and played on the debut, but this is head and shoulders above all that came before it.

It's an all-guitar high energy attack from the opening riff with vocalist Arde Teronen really driving the melodies home.